Қарши давлат университети ҳузуридаги

Р а ҳ и м а. Биздан нима ёмонлик кўрдингиз, ахир? Овқатингиз тайин, ўрнингиз солиғлиқ, кирингиз ювиқлик, яктагингиз у ёқда турсин, пайтавангизга ҳам дазмол босамиз, ўнгигаям, тескарисигаям босамиз. Дурустроқ кийиниб юринг, деймиз. Кимсан, бутун мамлакатга таниқли лимончи селекционер бўлсангиз. Ҳафтада бир телевизорга чиқиб лимондан гапирсангиз, газета-ю журналларда тинмай светной суратингиз чиқиб турган бўлса. Ҳали Туркманистон, ҳали Тожикистон, ҳали Қирғизистондан телефон устига телефон қилиб, лимонни қанақа экади, кўчатидан биттагина олишни иложи борми, деб сўраб туришган бўлса. Сал мундоқ ўз обрўингизга яраша иш тутингда, жон дадажон. (Саид Аҳмад, “Куёв”)
Rahima, Ganivoy’s daughter-in-law, must take care of her mother-in-law and her father-in-law in accordance with Uzbek family values. The writer also managed to express this attitude concisely through the character’s speech. The compiler of the text emphasizes that he has not excluded within the framework of social and household issues, concerns about a person's life, about his nutrition and dressing are considered important and pays special attention to this and does not ignore it. The pragmatic nature of the analyzed text should be divided into two parts: the first is that the daughter-in-law of an old man who is going to get married, Rahimа, in a circle of interlocutors, neighbors, husbands, daughters-in-law, is the culprit of the father-in-law’s decision to get married (Биздан нима ёмонлик кўрдингиз, ахир? Овқатингиз тайин, ўрнингиз солиғлиқ, кирингиз ювиқлик, яктагингиз у ёқда турсин, пайтавангизга ҳам дазмол босамиз, ўнгигаям, тескарисигаям босамиз. Дурустроқ кийиниб юринг, деймиз) the second is a statement aimed at dissuading the father in law from the decision to marry (Кимсан, бутун мамлакатга таниқли лимончи селекционер бўлсангиз. Ҳафтада бир телевизорга чиқиб лимондан гапирсангиз, газета-ю журналларда тинмай светной суратингиз чиқиб турган бўлса. Ҳали Туркманистон, ҳали Тожикистон, ҳали Қирғизистондан телефон устига телефон қилиб, лимонни қанақа экади, кўчатидан биттагина олишни иложи борми, деб сўраб туришган бўлса. Сал мундоқ ўз обрўингизга яраша иш тутингда, жон дадажон). The highlighted first part of the speech can be designated as a speech composed to justify the owner of the speech himself, to demonstrate innocence, and the second part as a call for the interlocutor to abandon his decision. It follows from this that two pragmatic goals were formulated in the given speech situation: the first is to ensure the pragmatic goal of justification, and the second is to ensure the appeal of a pragmatic goal.
The service of the author of the text, the creator Said Ahmed, associated with this state and images of the book, is determined by the fact that he directly assesses the capabilities of the language unit and the pragmatic situation, applies language units in accordance with the pragmatic purpose and conditions of speech. Consequently, through the pragmatic interpretation of the text of a work of art based on a stylistic approach, the harmony of linguistic and non-linguistic phenomena, the most optimal means and methods of expression, the important socio-educational significance of the culture of speech etiquette and communication is manifested.
The second chapter of the dissertation, entitled “The expression of certain morphological units in speech in the satire of Said Ahmad”, examines the morphological composition of the text of satirical works, the features of the specific expression of parts of speech, the analysis of derived words and some descriptive aspects. The chapter entitled “Morphological composition and description of words used in the text of satirical works” is devoted to the analysis of morphological units, linguistic and non-linguistic factors affecting their appearance in speech, morphological means and attitudes to the content of colloquial expression.
When considering the use of morphological units in speech, it is important to take into account, first of all, the speech situation. Morphological units in speech perform not only their task of transferring pure grammatical meaning. It is known that “when we talk about the aesthetic function of morphological units, expressiveness-emotionality is understood with the help of special word forms, as well as a special application of a word form that has a certain grammatical meaning and function”⁴⁴. According to the study, it is impossible to fully determine its content in speech expression by morphological analysis of words and sentences⁴⁵.
In our opinion, the expression of morphological units of various meanings in speech occurs on the basis of the author’s communicative goal and its relationship with the speech environment. In the works that are the object of analysis, satirical and humorous moods are leading. In the expression of satire and humor, phonetic, lexical, morphological units are chosen in accordance with a certain direction of content. When determining the degree of expressiveness of humor and satire in satirical works, it is important to choose and use morphological units, assigning them a special artistic load. According to observations and analysis, the group of nouns in the language of the work as a humorous tool reflects the following features: the usage of elements of barbarism instead of nouns; stylistic expression of lexical forms of nouns; the embodiment of stylistic meaning in grammatical categories characteristic of nouns. Barbarism, vulgarisms are specific to colloquial speech, their meanings are not considered a unit of literary language, their use is considered contrary to the culture of speech, but in the language of fiction, especially in the text of comedy works rich in dialogues based on live speech, such words are effectively used as a methodological tool. When observing this situation on the example of the text of the three mentioned satirical works, it turned out that the number and percentage of the use of barbarisms were as follows:

“Куёв”